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In 2014 Gillian Wearing made a photographic work titled Me as an Artist in 1984. As so often, she appears in it herself, in a bespoke and somewhat unnerving mask: on this occasion, as the title suggests, replicating her own smooth features in early adulthood, her more experienced eyes looking out, her hair teased up in a period style. Beside her, meanwhile, is a painting, an anachronistic study in biomorphic Surrealism featuring a pair of distended figures, one with huge red lips, floating in space. Until recently this was the only clue – or, if you like, confession – in Wearing’s oeuvre that, prior to her celebrated photographic and video-based explorations of selfhood and its multiplicities and ambiguities, she had once been a painter. In 2020, though, she fully unmasked herself. Her exhibition ‘Lockdown’, at Maureen Paley in London, revealed what she’d been up to in the early months of the pandemic: a suite of self-portraits in deft oil and limpid watercolour.

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